Legendary German metal band Accept returns with an unstoppable force, packed with punishing riffs and head-banging tracks. ' Humanoid' is their 17th studio album, set for release this Friday via Napalm Records.
Lead Singer Mark Tornillo and co cover the murky issues of technology and AI in this other blistering release from the legends. In almost fifty years, the band has entertained the masses from all over the world in various guises. I personally feel the band has grown as a unit in that time and has cemented themselves with some of the titans of metal. A significant factor is the addition of Tornillo's vocals. His voice, a torrent of raw emotion like a contemporary Bon Scott, has elevated Accept's music to unprecedented heights."Humanoid" is an album that exemplifies this statement.
Andy Sneap is back behind the producer's table at his Backstage Recording Studios LTD in Derbyshire, England. This helps increase the volume to 10 with a broad and heavy sound, exemplified by the duel guitars of Wolf Hoffman and Uwe Lulis.
That provides the background for the album. Now, onto the review. The album opens with the Middle-Eastern influences of 'Diving into Sin' and 'Man Up,' then ramps up the volume and intensity with the self-titled track 'Humanoid' and 'Frankenstein.' The band consistently produces high-quality metal tracks, maintaining their creativity and synergy. One reason I appreciate Accept is their consistent effort to explore new ideas while keeping their content vibrant and dynamic. On this album, they achieve this through a balance between ballsy metal and melodic tracks which strikes through the listeners' hearts. At times, this release may seem slow to engage, with several tracks sharing a similar tone, yet it eventually delivers a powerful impact.
The track 'The Reckoning' is a tribute to the fans, reminiscent of 1980's Teutonic metal acts. It embodies the quintessential Accept sound with robust riffs, pummeling drums, and anthemic choruses that compel you to stand up and cheer. 'Nobody Get Out Alive' continues this trend with the powerful vocals of Tornillo harmonizing with the dual guitars, giving the impression that it could be the next hit single. The guitar tones are sharp, reminiscent of the harmonious dual guitar acts like Judas Priest. The riffs are captivating and hypnotic, with each track seamlessly progressing.
In contrast, Accept counterbalances their sound with softer ballads like 'Ravages of Time' a reminder we all grow old eventually. The band transitions into classic realms with potential radio hits like 'Mind Games' and 'Unbreakable,' reminiscent of a time when metal focused more on high-energy rock 'n' roll instead of technical riffs and elaborate vocals.
Saving the best for last, as the age-old saying goes, 'Straight Up Jack' is the kind of rock track that Bon Scott would have been proud to pen for AC/DC—a genuine homage to the legendary Jack Daniels.
Accept continues to impress with their classic metal style, delivering hit after hit. Should you choose only one album to listen to this year, 'Humanoid' might just be the one.
Rating: 9/10
'Humanoid' is out on April 26th via Napalm Records an will be available via all major streaming platforms and retail outlets.
Tracklisting:
1 Diving Into Sin 2 Humanoid 3 Frankenstein 4 Man Up 5 The Reckoning 6 Nobody Gets Out Alive 7 Ravages Of Time 8 Unbreakable 9 Mind Games 10 Straight Up Jack 11 Southside Of Hell
ACCEPT are:
Wolf Hoffmann – guitar Mark Tornillo – vocals Uwe Lulis – guitar Martin Motnik – bass Christopher Williams – drums
One of the best things about writing reviews is you get to cover your favourite artists. Ian Hunter has been one of my favourite vocalists for the past decade, ever since I discovered Mott The Hoople.
'Defiance: Part Two-Fiction' is released today (April 19th) via Sun Records. This is the follow-up to last year's much appreciated ' Defiance: Part One ', which features the usual plethora of distinguished guests from the world of rock. The guest list runs like a who's who of the music industry with notable names including such close friends and lifelong fans as Robin Zander, Rick Nielsen, and Tom Petersson (members of Cheap Trick), Brian May (Queen), Lucinda Williams, Dean DeLeo, Robert De Leo, & Eric Kretz (Stone Temple Pilots), Joe Elliott and Phil Collen (Def Leppard), Johnny Depp, Billy Bob Thornton and J.D. Andrew (The Boxmasters), Benmont Tench (Tom Petty and the Heartbreakers, Bob Dylan), Waddy Wachtel (Stevie Nicks, Jackson Browne), David Mansfield (Bob Dylan, T Bone Burnett), Tony Shanahan (Patti Smith), Steve Holley (Wings), Morgan Fisher (Mott the Hoople), and – in what proved among their final studio recordings – the late Jeff Beck and Taylor Hawkins (Foo Fighters).
I had the fortune of writing about the first edition, which featured Robert Trujillo of Metallica and guitarist Slash. Their adaptation to Hunter's singing style was impressive. The initial part was recorded during the 2020 Quarantine at Hunter's home studio in Connecticut, USA, with his long-time collaborator Andy York. This collaboration seemed to enhance the album's sound, uniting some of the finest in rock royalty. It has become a successful formula for the rock legend. However, this second edition presents a more pared-down approach.
The featured guests on this edition allow Hunter to embrace a more folk and singer-songwriter approach. The album kicks off with the '60s pop-rock anthem 'People', showcasing contributions from Def Leppard's Joe Elliott and Cheap Trick's Rick Nielsen, Robin Zander, and Robin Taylor. The track resonates with Hunter's signature style, marked by catchy choruses and thoughtful lyrics set to a guitar-centric backdrop. The righteous and vibrant 'Fiction' is a track about the media's reaction to musicians in the limelight. Hunter's endearing vocals are supplemented by Mott The Hoople bandmate Morgan Fisher on piano and organ. The excellent string arrangement highlights the song's message.
The songwriting on this album is profound, and the selection of musicians allows Hunter to deliver more protest and political tracks, contrasting with the personal themes of part one. 'The Third Rail' is a beautiful tribute to Jeff Beck, whilst 'This Ain't Rock 'n' Roll' is a fun rocker with Def Leppard's Phil Collen. The album is an interesting insight into one of rock's finest vocalists, with an exploration of different genres like folk, blues, rock 'n' roll etc.
Nevertheless, the album grows in maturity with each track steeped in fun and wisdom. I can tell Hunter has a lot of fun with these recordings. 'Precious' is a crunchy rocker with the late Taylor Hawkins on the drum and Queen's Brian May offering his guitar chops with delicious licks. The album gets heavier with the infectious 'Kettle Fish' and the marijuana legalization anthem 'Weed' underlying Hunter's edgier side.
Finally, the second part concludes with the blues number ' Everybody's Crazy but Me' featuring Waddy Watchel and Benmont Trench. I think the issue for me is some of the tracks feel like a throwback to Bob Dylan and the sixties rock revival. These recordings are a delight to listen to, particularly for enthusiasts like me. Hunter's vocals remain warm and impactful, yet I believe this release doesn't quite match the excellence of part one, as it tends to evoke nostalgia for a time when life seemed better in one's youth.
Rating: 7.5/10
'Precious' FT Brian May and Taylor Hawkins
If you enjoyed this review, click here to read about Ian Hunter's 'Defiance: Part One'
Canada has produced its fair share of musical stars over the years, with Garage Pop act The Wesleys aiming to be the next. The quartet have recently released their self-titled debut album last week via Little Village Records.
The album builds on the success of their EP, titled "Outside Voices." It presents a novel blend of punk, garage, and power pop encapsulated in nine tracks brimming with introspection, delivered through playful melodies and guitar-centric rock. The band rely on their DIY pathos, much favoured by bands these days, The Wesleys aim to produce and write music that is " authentic and natural". Drawing inspiration from their musical heroes like The Clean, Teenage Fanclub, The Pixies, and The Replacements.
To coincide with this release, eager listeners can grab a teaser with the release of a new animated video for 'A Lot to Lose", the last single taken off the album. As co-founder and guitarist, Henry Girard explains about the video's producer Phil Osborn"“We got familiar with Phil's work through the music video he created with the one and only Cindy Lee and Montreal's Night Lunch. We wanted to see Phil's interpretation of our music. We didn't give him much direction, preferring to tap into his creativity and let him chart his own course!”
Watch the video below:
Girard further explains the reasoning behind the name The Wesleys "it's a sad story to be completely honest with you. I had a friend named Wesley who passed away really young when he was 20 years old. And he was the one who actually got me into music in the first place. I didn't come from a musical household or anything. Wesley got me into jamming for the first time, lent me a bass guitar, taught me some basic scales, and then I would go over to his place and he lived at this mansion. And at the time, there were I think like eight or nine people living there. It was in Killarney in Vancouver and the living room was just stacked up to the ceiling with amps. And we would jam there. It was like the best time I'd ever had in my life. And that's what my friend Wesley did for me; he introduced me to my life.”
The album marks a change in direction for the band from their previous release with a promise of a deeper reflection behind the songwriting. Band member Pablo Garcia opted to produce the album 'Live'
The Wesleys were formed in 2017 by close friends guitarist and lead vocalist Henry Girard, fellow guitarist William D'Amours, bassist Quentin Chisholm and drummer Pablo Garcia. The album was recorded in 2023 by Pablo and Quentin at multiple homes across Montreal.
Nice Mind Records presents a pleasant treat from North-East singer/songwriter Chris Riley- lead singer of The False Poets- with 'Making Waves', the first track taken from his upcoming solo album, entitled Echoes in the Gloaming, which is due out this summer.
The track has nice acoustics and deft touches on the guitar, making it an easy-listening folk song for the summer. I have previously reviewed the past couple of albums for The False Poets, but Riley reverts to a laid-back approach.
The introductory slide guitar merged with delicate fingerpicking, creates a rhythmic cascade reminiscent of undulating waves. Riley's warm and welcoming voice sweeps across the music like a surfer riding the sea waves. The production helps elevate the sound like the listener is sitting next to the musician performing the track. Each note strummed is crystal clear and allows the listener to get lost in the track.
Chris Riley has released a couple of other tracks to accompany the release. 'Peggy Gordon' is a traditional folk song. The song is similar in tone and emotion with Riley singing an ode to a lost love. The singer can write compelling and sensitive tracks to tug at the heartstrings. The last track is 'Wild Mountain Thyme', another example of how Britain still has strong singer/songwriters to keep the folk revival going. I am excited about this upcoming album because it sounds like Riley has separated his own music from The False Poets. I have written a few reviews for the band, which usually focuses more on 60/70's rock sound. Riley has given himself the freedom to write his own music with a special touch.
Click below to listen to 'Making Waves' on Bandcamp.
Alt Rock quartet Paraline recently released their debut EP 'Sound Weapon' last month via Eclipse Records. Two brothers formed the band to discover themselves, as they fought issues with the Pandemic and war in Ukraine to produce 'Sound Weapon'. I caught up with lead vocalist Leo Andersen (No relation!😃) to discuss the new album, the unusual recording practices, and adversity in the face of a conflict. Please scroll down to read the full interview.
Please introduce yourself to the readers?
My name is Leo “Light” Andersen, and I am the band's leader.
Congratulations on the release of Sound Weapon, what has the response to the EP been like?
Thank you, and we haven't had a chance to fully gauge the response yet. We've been too busy with producing a new music video to evaluate the results. But our manager says the support from the audience has been overwhelming and that's all I need to know right now.
The album is quite varied with heavy tracks mixed with lighter ones. How would you describe the EP yourself?
This EP is the culmination of years of hard work and exploration, coming together into a cohesive whole. I would describe it as the result of five years of work and band development in terms of sonic diversity.
My favourite track on the EP was “Icarus” because it is an anthemic track I felt would sound great at a festival. What can you tell me about the song and video?
You're spot on! "Icarus" has indeed been highlighted as an anthemic, stadium-worthy song. It's the most life-affirming song on our album - we've received numerous messages from people saying it helped them get through tough times! But at the same time, both the song and the video were incredibly challenging and almost extreme to create. We recorded the song while on the move between concerts in our tour bus, making it very difficult in terms of sound engineering. And the video was shot on location inspired by the Polar Station Zebra - we were freezing cold. Few people noticed, but in the video, we played in the middle of a frozen lake, and there was supposed to be a scene where we fell under the ice. We had to abandon that idea due to extremely tight deadlines, which was both a relief and a slight disappointment.
Another track I enjoyed was “Hyperdynamic” because, ironically, it is a dynamic track between lighter, electronic stuff and heavier, aggressive chorus. What can you tell me about the track and how it fits in with the EP overall?
"Hyperdynamic" is the main track of the EP, defining the sound of the entire recording, a sort of band mantra. Essentially, everything related to this album started from this track. So, it can be considered the foundation of the project in the form you see it now.
What can you tell me about the recording and writing process behind the release?
Well, since we don't have the capability to write and instantly release songs and because we're a young band, the recording consists of tracks that have been developed over a long period. This time it was the first time we recorded everything at once.
As for the recording process - it was madness. We locked ourselves in a small apartment high in the mountains, where it was 50 degrees Fahrenheit during the day and -10 at night. There were only five hundred people in the town, and we didn't know anyone. We only left this apartment to go to the neighbouring country to give a concert - the rest of the time we recorded and mixed music. No one knew what the future held because of the war. We didn't hope for anything and didn't dream of anything. There was no Eclipse or other prospects, we just made music. The hardest period of our collective’s life. We recorded drums in the basement and vocals in the car.
Most of the songs were written before this - by me and my brother, but I always write the initial version of the song somewhere remote from people or the city, occasionally at home. Some songs come very easily, almost accidentally, while others are a complex, deliberate, and lengthy writing process.
Could you tell me about the journey behind Paraline?
Paraline is a complex project, and that's partly why it's so interesting to pursue. At every stage of the journey, we encounter resistance from friends, obstacles from authorities and institutions, and for lack of a better word, the world. We sing in an unfriendly language in our country (another iron curtain falls), while we observe the bands around us - the presence of a scene, of an industry, of transparent promotion tools, platforms, specialists, open communication - all these things are unavailable to us. So, we had to become experts in specialities we never even thought about. Pyrotechnician, stuntman, SMM manager, we "built" the whole movie studio for making our own music videos... essentially carving our own path to the listener, and that's why the people who eventually find us are so precious. Looking at many of our peers, I realize that comfort is a slow death and even though we chose the path of madmen, the path has been chosen, and let the one who walks it overcome.
As for the musical project itself, it is built on the concept of diversity and opposition between my brother and me (hence the logo and the name of the band). We clash musically, philosophically and stylistically, but “truth is born of arguments”, you know?
What does the title Sound Weapon mean?
I'm not sure if you're familiar with the terms "Havana syndrome" or "Moscow Signal", but in short, it's a form of sonic weapon allegedly used against American diplomats by KGB and FSB in Havana and Moscow (just kidding). The name "sound weapon" came from the very harsh sound of the song "Hyperdynamic", which, as mentioned earlier, is the title track and, as we were told, sounds like a machine gun. We initially thought of naming the song “Hyperdynamic Sound Weapon”, but decided that name was too long and shortened it. However, as we began travelling from country to country, giving concerts and recording this album, because Russia invaded Ukraine and we no longer wanted to be in Russia, we were forced to often cross borders of different small countries. We travelled in our little tour bus, filled to the brim with equipment. And we took with us a small military green-coloured box, full of wires, and it served as a stand for our American coffee maker. Imagine a tour bus like a Dodge Van loaded with cases, trunks, and other bulky items to the roof. Plus a huge amount of bags and personal belongings. At every border, the police and military were persistently interested only in this green wooden crate. Just a box painted with some technical inscriptions. None of us even remembers where we got it. So at every border, we were asked "What's in the box, is it a weapon?" Tired of answering this question from border to border, we started answering, "It's a sound weapon." The Armenian FBI even detained us and questioned us because of this box. Although again it's still just a small wooden box with wires. That's why we named the album that way and put this box on its cover.
What do you feel signing with a record company like Eclipse Records does for an upcoming act like yourselves?
I feel immense pride that a person like Chris Poland chose us to work with despite everything. This is the best company and person a band could wish for on the road to success. He is the best professional we've encountered so far and a true American in the best sense of the word. I've already said that we've met a few good people doing music and that each of them is worth a lot. But Chris Poland, the head of Eclipse Records, is the most valuable of them all.
Certainly, it was a gamble on his part, as we are not very similar to other bands on the label - as if we are too experimental/ our genre is too ambiguous. But Eclipse has an incredibly welcoming audience, and many of their listeners and bands have greeted us very warmly. Thanks to them, “Sound Weapon” has already been heard by tens of thousands of people worldwide, and it's nice to know that we're not working in vain!
Also, when we started working with Eclipse, there was an annular solar eclipse, and almost immediately after the album was released - a total solar eclipse, so in a sense, fate itself marked us to work with Chris Poland and Eclipse.
The band had its struggles to begin with, namely the Covid pandemic and ongoing wars, how were you able to keep your minds sane, and persevere with getting the record out?
Only thanks to this recording did we not go crazy. Everything we went through is captured there. Creating music was undoubtedly therapeutic for us as it was an attempt to offer solace to our listeners too.
One of the things I mentioned in my review was I thought the EP would sound good as a full-length album because it had a lot of ideas and songwriting to pique the listener’s interests. Do you plan on releasing an LP in the future?
Absolutely yes. We will definitely release an LP in the near future with a more complete picture and more vivid colours than "Sound Weapon". We are already working on it.
Finally, what are the future goals and aspirations for Paraline?
"Sound Weapon" is not the end, it's just the beginning. Our plans definitely include recording an LP, experiencing a real tour in a genuine musical environment, and glorifying the band’s name worldwide through good deeds. We want to demonstrate that even when you lose yourself in pursuit of your dreams, you can still achieve them. It doesn't matter where or when you were born, what matters is what you’re making.
The Rockstar Reviewer Vlog debuts with a look at some upcoming new releases. In each episode I decide to pick a couple of albums I like, providing my honest opinions on the subject.
This week's show reviews the new album from Classic Rock Legends ( and my favourite) Blue Oyster Cult's reimagined collection 'Ghost Stories'. The brainchild of the Frontiers Music SRL Chief. The album is a collection of unreleased tracks from the 70's until 2016. The second release from Frontiers Music SRL is the 80's influenced 'Between the Shadows by Sleaze rockers King Zebra. Click on the video below to discover what I think about the releases.
The Rockstar Reviewer show returns with a look at Myths of Fate from Symphonic Metal Stalwarts Leave’s Eyes. This is the German’s ninth studio effort, and the first in four years since The Last Viking. Co-Vocalsist Alexander Krull is back behind the producer’s chair to deliver another release of large, bombastic cinematic scores blended with gothic, folk and Metal Elements. The album is out on Friday, March 22nd via AFM Records. Click on the player below to hear my thoughts on the release.
LEAVES’ EYES is: Elina Siirala – Vocals Alexander Krull – Vocals Micki Richter – Guitar Luc Gebhardt – Guitar Joris Nijenhuis – Drums
“Myths Of Fate” track listing: 01. Forged by Fire 02. Realm of Dark Waves 03. Who Wants to Live Forever 04. Hammer of the Gods 05. In Eternity 06. Fear the Serpent 07. Goddess of the Night 08. Sons of Triglav 09. Elder Spirit 10. Einherjar 11. Sail with the Dead
